
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
In Sacrifice (portfolio) 1993, Wiradjuri/Kamilaroi artist Michael Riley (1960–2004) mines the reservoir of Christian iconography to proffer an allegory of Indigenous sacrifice under colonisation.
During colonisation, Christian organisations exerted control over Indigenous peoples by establishing reserves and missions. Many Indigenous peoples were forcibly relocated to these missions and forbidden from speaking their language and participating in cultural practices. Having grown on up on the Talbragar Reserve just outside of Dubbo, NSW, Riley witnessed the sacrifices Indigenous peoples had to make to survive and to be Christian themselves.
In this series, images of crosses, fish, lilies, and stigmata, function not only as Christian symbols, but as symbols that narrate such sacrifice. Riley intended not to disparage Christianity as a practice, but to critically examine how it was weaponised.
In cloud (portfolio) 2000, we see a progression of the images and themes produced in the earlier Sacrifice (portfolio). However, the iconic images this time are delivered in colour, in the new medium of inkjet prints on paper. The work presents us with images drawn from the opposing dichotomies of Indigenous and European settler societies. We see surrealistic images of animals and objects floating across a blue sky: a cow, a locust, a boomerang, a bible, a feather, a gravestone, a disembodied bird's wing. Crucially, this work alludes to Indigenous spiritual belief systems in the form of the winged messenger, represented here by the image of the locust (or gawuurra in the Wiradjuri language).
A detail view of Michael Riley’s cloud (portfolio) works installed for ‘Transitions’, GOMA, March 2023 / © Estate of Michael Riley / Photograph: M Campbell, QAGOMA